Concerto op. 12 懷爾 協奏曲 總譜 環球版

庫爾特-威爾的創作精力主要集中在音樂劇領域，事實證明他是一位極富創造力和想像力的創新者，但他也為音樂廳留下了少量作品。小提琴與管弦樂隊協奏曲作品 12 創作於 1924 年春。該協奏曲為兩支長笛、單簧管、巴松管、圓號、一支雙簧管和小號、打擊樂和四支低音提琴而作，由三個樂章組成。在創作這部作品時，魏爾告訴他的出版商："我正在為小提琴和管弦樂隊創作一部協奏曲，希望能在兩三周內完成。這部作品的靈感來自于將單把小提琴與管樂合唱並置的想法--這種想法以前從未實現過。

作曲家: Weill, Kurt
編者: Eichhorn, Andreas
樂器: for violin and wind orchestra
出版社: Universal Edition
原文簡介:
Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.'
The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)